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AUDIOPHILE AUDITION is a free international online magazine for audio buffs, record collectors and music lovers, publishing up to 100 disc reviews monthly of classical, jazz, pop, movies, documentaries, and operas on Blu-ray and DVD, vinyl, CDs and hi-res formats.

In early 1962 Stan Getz helped bring bossa nova to mainstream American audiences with the Jazz Samba recording with guitarist Charlie Byrd. In March 1964, he furthered the bossa nova craze by bringing famed Brazilian guitarist Joao Gilberto and pianist/composer Antonio Carlos Jobim to New York City to record Getz/Gilberto. It became one of the best selling jazz albums of all time and featured “The Girl from Ipanema” sung by Joao’s wife, Astrud Gilberto. Its intoxicating sensual groove proved irresistible to American audiences.

Getz soon returned to straight-ahead jazz as well as fusion, and recorded with Gary Burton, Chick Corea, and Bill Evans. In May 1975, Stan reunited with Gilberto to record The Best of Two Worlds. It was released in May of 1976, and its publicity led to a week long engagement at Todd Barkan’s iconic San Francisco jazz club, Keystone Korner. Thanks to Barkan recording many of the 1972-1983 concerts at his club, we now have the opportunity (in superbly remastered sound) to hear Stan and his topnotch quartet, as well as adding Gilberto to the mix for his complete twelve tracks in a separate issue.

Gilberto’s singing is tender, without vibrato, and has an ethereal seductive quality. It matches his gentle dry guitar playing done without arpeggios. Stan was a highly effective partner for Gilberto as his gorgeous sensitive tone was tailor made as an accompanist.

Highlights of these two new issues include (on Getz/Gilberto ’76):

On “E Preciso Perdoar (One Must Forgive)” Getz’ solo is especially passionate and very appropriate to these (English translated) lyrics: “Dawn has already broken. You’re going to abandon me. I feel you do not deserve forgiveness. I wanted the illusion, now I am the pain.”

“Aguas de Marco (Waters of March)”, composed primarily from two notes has Jobim’s lyrics presented in a staccato manner that is alluring. (Too bad that there are no English lyric translations for the Portuguese lyrics). “Chega de Saudade (Longing has Arrived)” brings Getz back into the mix spicing up the low energy guitar that can sometimes be a labor to appreciate when you do not understand the words. “Doralice” has more uptempo changes making it a pleasant diversion. “Um Abraco No Bonfa” features some advanced guitar skills from Gilberto.

On the quartet-only Moments in Time CD there is the intuitive “communication” between Getz and his rhythm section that is found with a group that is fully formed and needing little rehearsal. Getz liked to play with younger musicians to challenge him and keep him on his game. The TrackList is a great collection of standards.

“Summer Night” shows Stan can go from caressing a melody to “off to the races” as effortlessly as any tenor saxist of his generation. This track highlights bassist Clint Houston as a superb timekeeper locked into the groove. “Infant Eyes” from Wayne Shorter is a ballad drenched with emotion, while “Cry of the Wild Goose” has Billy Hart driving Getz to free-wheeling heights while Joanne Brackeen has an inspiring piano solo. The energy here is palpable.

Stan’s recording of Horace Silver’s “Peace” is masterful, showing his skill in making a ballad his own. Only Ben Webster and Dexter Gordon come to mind as comparable. On an extended “Con Alma” Getz lets his creative juices flow on a solo that escalates in intensity.

Resonance Records continues on a winning streak of releasing historical live recordings packaged with extensive liner notes and rare photos. We eagerly anticipate upcoming releases from the Mel Lewis/Thad Jones Big Band as well as a Larry Young in Paris session.